Arnar Sigurjonsson portfolio London

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Architecture portfolio by Arnar Sigurjonsson

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<ul><li><p>P o r t f o l i oArnAr r SigurjnSSon</p></li><li><p>My name is Arnar r Sigurjnsson and I am from Keflavik, Iceland. When I grew up the town had the population of 7.000. I moved to Reykjavik to study sociology in the University of Iceland. I dont regret the time I spent studying sociology, it made me realise my where my interests were. In my sociological studies I was mostly focused on the sociology of space. In my final thesis I contemplated the power relation in space by reviewing Foucault and de Certeau. I was well into my Masters degree when I realised that I didnt see myself as a sociologist, sociology was more like a tool that I wanted to have at my disposal. At that time my mind had recently become aware of many interesting theories about the social environment, so I decided to revisit my childhood dream of becoming an architect. I had always been fascinated about architecture. When I was a young boy I would name mundane things after monuments; like the radio broadcasting tower and the fence around the military base in my home town, I would call them the Eiffel tower of Keflavk and the Great fence of Keflavk. I applied for the Iceland Academy of the Arts couple of months after my epiphany, making a portfolio from old sketches from the backsides of notebook pages, as well as making few new drawings. In the Iceland Academy of the Arts I met a lot of interesting people, both teachers and fellow students, that influenced my greatly. Since I was quite new to this field at the time I was very open and determined to view everything with a open mindset. If I had to define my style as an architect I would say it was very geometrical. I like to personify architecture, some places are arrogant, other are playful and naive, and some are humble and reserved. Sometimes I use geometry to express the characteristic that Im trying to evoke. Often my style is quite dynamic, but I also think it is important to know when to be reserved. My projects usually have a philosophical or theoretical foundation from which the project evolves. A reoccurring theme in my work has been the relations between man and nature. A dichotomy which I have been fascinated about for a long time, and that fascination was reignited when I was introduced by my teacher Sverrisdottir to the writings of Deleuze and Guattari and the works of Richard Long among others. The reason I want to become an architect is to help create the environment for everyday life. Whether it is for a family within a household or for civilians within a public space, I find it enchanting that the stage for everyday life is previous and present architecture. I am aware of the political responsibility and I embrace it. Building a house is not just about building that house, it is about contributing in building a city. I am by no means a fully forged as an architect, nor do I want to be. I intend maintain the open mindset towards new experiences for as long as I can, and keep on maturing as an architect to the end of my studies and beyond.</p><p>PerSonAl StAtement</p><p>svallagata 65 101 ReykjavkIceland</p><p>+354 865 7943</p><p>a.sigurjonsson@gmail.com</p><p>ArnAr r SigurjnSSon</p></li><li><p>My final project was to design a refuge for pilgrims traveling on a path that stretches along the continental drift ridge across Iceland, from Reykjanes in the south to Axarfjrur in the north. The refuge is located at Kleifarvatn, a lake which is surrounded by thermal energy due to movement in the seismic plates. At Kleifarvatn youll find nature in its most primative state, with geothermal steams rising from the ground and volcanic rocks reminding visitors of the sites natural power. The theme of the project was to recreate the upcoming pilgrimage both in the approach, and within the building. After researching old maps of pilgrimages, a new abstract one was born (see below) which became a key in the design process. Each finger represent a certain period in the pilgrimage, based on what it alone symbolizes in western culture. In the pilgrimage Kleifarvatn represents guidance. It is at Ian where the pilgrims need to find inspiration for the upcoming pilgrimage. By fractalizing the journey within Kleifarvatn, the project assists the pilgrims in answearing important questions. First of we have the thumb, which could symbolize approval, or disapproval, in other words the pilgrim has a decision to make. The pilgrim makes a decision to leave the road leading to settlement and seek guidance at Ian.</p><p>finAl Project - iAn6. semester-a refuge for pilgrims</p><p>Atmosphere analysis</p><p>Culture analysis</p><p>Nature analysis</p><p>Overall analysis</p><p>Decision</p><p>Hostility</p><p>Commitment</p><p>PromiseDecision</p><p>Guidance</p><p>Site Plan1 : 20.000</p></li><li><p>Site Plan1 : 20.000</p></li><li><p>Ian is located in a small cove on the east side of the lake. The site is relatively secluded due to high hills all around it. The only man-made structure apart from the building itself is a small gravel road leading up to the cove. It was essential that the building would harmonize well with its surroundings. The site had many interesting spatial qualities prior to the building. Ian opens up or stretches to certain places in the environment and closes to others, trying to maximize the pre-existing qualities of the site. Ians placement in the land is determanded by a mineralized volcanic trail, which forms an axis seperating a black beach to the east and coarse lava rocks to the west. The beach can be seen from anywhere in the cove resampling a square in the city, and serves as a sort of social venue. The pilgrims could find some privacy in the coarse landscape on the western side of the building, with a trail leading upto a small natural geothermal pool. In the cove the pilgrims experience the second part of the recreation of the pilgrimage. When walking on the gravel road leading to the cove a wall rises from the ground and guides the pilgrims to the building, before sinking back below the surface.</p><p>Site Plan1 : 2.000</p><p>4. A gravel road leads up to the cove.</p><p>finAl Project - iAn6. semester-the buildings location and its qualities</p><p>3. Geothermal pool.</p><p>2. The view over Kleifarvatn.</p><p>1. The beach is a social venue.</p></li><li><p>2.</p><p>4.</p><p>Guidance</p><p>3.</p><p>1.</p></li><li><p>Early sketchmodel showing how the social area of the building opens up to the social area of the site.</p></li><li><p>In the project, and in a pilgrimage in general, there is a strong emphasis on the man-nature axis. The building finds its form between the euclidian human mind and the fluent forms of nature. The building finds inspiration in natural architectural spaces such as caves, cliffs, crevasses etc. As well as working with the qualities of the site. Since the consept of the building was to recreate the upcoming pilgrimage, the form is really inspired by movement. The building is formed by a single concrete plane that rises steadily from the ground and folds its way through the building and back again, representing the pilgrims journey. Even thorugh the pilgrim will return home after the pilgrimage, it is the journey he took that gives him a different mindset.</p><p>Consept model: The pilgrims path through the building and the return home</p><p>finAl Project - iAn6. semester-the design process</p></li><li><p>Ground Floor Plan1 :200</p><p>Comm</p><p>itment</p><p>Hostility</p><p>1.</p><p>2.</p><p>3.</p><p>4.</p><p>5.</p></li><li><p>Once the pilgrim approaches the building a long wall steadily rises from the ground and leans aggressively over the pilgrim in a hostile manner, recreating the long walk over the Icelandic wasteland. The pilgrim then enters the building through the dining area, a social space, a zone of trust. Once the pilgrim has settled he walks up to the hallway where he is given the place to contemplate whether to embark on the journey, as he was promised. The plan of the building is very open, and people in different spaces can interact with one other. Mezzanine floors are common in Icelandic huts, they allow certain connections between people in different spaces. At the expense of privacy comes unity. Ian is not meant to have a private space, the private spaces are in the nature that surrounds it.</p><p>1. Dining hall2. Storage3. Kitchen4. Maintenance5. Bathroom6. Hallway (viewpoint)7. Resting mezzanine</p><p>Second Floor Plan1 :200</p><p>Promis</p><p>e</p><p>6.</p><p>7.</p><p>finAl Project - iAn6. semester-plan and organization</p></li><li><p>Ian is a refuge for pilgrims traveling across Iceland. It is at Ian where the pilgrims prepare mentally for the upcoming journey across Icelandic wastelands. A stay at Ian is by no mean meant to be luxurious, it is meant to prepare the visitors for hardship. The visitors are suppose to bond with nature. Ian brings people who have similar ambitions together. People venture upon pilgrimage for different reasons, Ian is a venue for people to share their ambitions with others. A pilgrimage is a solitary action, where a pilgrim seeks answears to questions through leaving society behind and testing himself physically against nature. Ian is a place where pilgrims can experience themselves in a group that is not deviant.</p><p>finAl Project - iAn6. semester-a building in nature</p></li><li><p>Section AA1 :200</p><p>Section BB1 :200</p><p>Section CC1 :200</p></li><li><p>In the course we were supposed to research an architect, do a presentation about the architect and his works and then finally design a house influenced by that architect. The architect that I researched was Peter Zumthor. We were supposed to design a house for a composer and its family in a suburban neighbourhood by the sea. The composer wanted to be able to work at home, although he wanted to have some privacy from the household while working. The family often gets visits from other family members living abroad, who stay for a while. The house organization is based on the level of privacy each room requires. Some rooms are private and other are public, but some require privacy from the family, like the studio and the guest bedroom. The public areas can extend themselves to the courtyard, due to folding glass doors. I also tried to focus the energy in the household to the side that is facing the street, making it calmer the further you get in to the house, making it the calmest in the studio, living room and master bedroom. Thats were residents search for an inspiration in the sea.</p><p>A A</p><p>BB C</p><p>C</p><p>DD</p><p>N</p><p>Private from family</p><p>Plan 1 : 100</p><p>Front elevation1 : 100</p><p>1.</p><p>10.</p><p>11.</p><p>12.</p><p>13.</p><p>14.</p><p>15.</p><p>reSeArch: AuthorS And their workS1. semester-a house for a composer and its family</p></li><li><p>A A</p><p>BB C</p><p>C</p><p>DD</p><p>N</p><p>1. Laundry room2. Kitchen3. Dining area4. Bedroom5. Hot tub6. Bathroom7. Dressing room8. Master bedroom9. Living room10. Bathroom11. Studio12. Guest bathroom13. Guest bedroom14. Garage15. Courtyard</p><p>Public Private</p><p>Section AA 1 : 500</p><p>Section BB 1 : 500</p><p>Section CC 1 : 500</p><p>Section DD 1 : 500</p><p>2.3.</p><p>4.</p><p>5.</p><p>6.</p><p>7.</p><p>8.</p><p>9.</p></li><li><p>wo r k i n g P r o c e S S &gt;&gt;&gt;&gt;</p><p>de S i g n P r o c e S S &gt;&gt;&gt;&gt;</p></li><li><p>Skelin (e. shell) is an emergency shelter to be used during floods. The shelter consists of 8 equaliteral triangles cladded with textile mesh. Once assembled the shelter looks like a shell. The shelter is strung between trees or similar objects, and hangs above the water. Skelin works as a closable hammock and can support up to 4 adults. The structure is easy to assemble as all of the triangles are the same. The textile mesh protects the inhabitants from mosquitos and other insects without distrupting the inhabitants senses, who need to be on the look out for help. The shelter was built in full scale in skjuhlin. Skelin, among other shelters, got a coverage on national television.</p><p>deSign: ProceSS And reAliSAtion 2. semester-an emergency shelterGroup project with: Ptur Stefnsson</p><p>Sigrn Harpa rarinsdttir</p></li><li><p>Lindargata</p><p>Klapparstgur</p><p>Vatnsstgur</p><p>Hverfisgata</p><p>Veghsastgur</p><p>LindargataKlapparstgur</p><p>Vatnsstgur</p><p>Hverfisgata</p><p>Veghsastgur</p><p>Original Site plan 1 : 1.000</p><p>New Site plan 1 : 1.000</p><p>Renewed street facade</p><p>Demolished buildings</p><p>Public walkways</p><p>Public square</p><p>Building masses</p><p>New building masses</p><p>Building masses</p><p>N</p><p>N</p></li><li><p>The site is framed by four streets; Lindargata, Vatnsstgur, Veghsastgur, and Klapparstgur. The site is located in the Reykjavks centre in an area that has raised a lot of controversy. The demand for housing in the city centre is high, consequently high-rising buildings with luxury appartments were build on Lindargata. The new buildings are said to block view and be in no relationship with other buildings in the area. The site itself is also in bad shape. The kindergarten withdraws from the street and lies in the middle of the site, blocking pedestrians trying to pass through the site. In addition there are a lot of worn-down garages and a old abandoned factory that appear to be scattered randomly across the site. Our design aims to make the site more of a unit as well as making it pedastrian friendly. We decided to focus on Lindargatas street facade while having openings for pedestrians to cross the site. Relocating the kindergarten more to the west and reducing its plot considerably make more space for new buildings and public areas. </p><p>Building A city3. semester-designing a site</p><p>Lindargata</p><p>Klapparstgur</p><p>Vatnsstgur</p><p>Hverfisgata</p><p>Veghsastgur</p><p>The old buildings are surrounded by blocks.</p><p>Some houses are in bad shape.</p><p>Lindargata has two conflicting street facades.</p><p>The kindergarten lies in the middle of the site.</p><p>Group project with: Elsabet Sara Emilsdttir</p></li><li><p>We wanted to respond to the high demands for living in the area, as well as showing an alternative to the high rising appartment blocks. It was our belief that the area should be mixed with people of different social statuses. For lower-middle class families we designed compact appartments. We wanted to avoid having joint-owned stairways, and preferred that the residents would have had their own entrence from ground level and have a direct opening to the communal courtyard. Our initial idea was to build high and narrow appartments inspired by modern japanese architecture, but soon started make the space more complex and dynamic to make it more interesting to live in. The appartments intertwine with one other.</p><p>Building A city3. semester-compact homes for a more dense city</p><p>Kitchen</p><p>StreetPlanCompact appartment1 : 200</p><p>Communal courtyard</p><p>1st </p><p>Floo</p><p>r</p><p>Concept diagram displaying how two appartments interact with one other.</p><p>Living room</p><p>Drawing the buildings closer to the street makes the street more in tune with the human body.</p></li><li><p>LindargataKlapparstgur</p><p>Vatnsstgur</p><p>Hverfisgata</p><p>Veghsastgur</p><p>2nd </p><p>Floo</p><p>r</p><p>3rd </p><p>Floo</p><p>r</p><p>Studio appartments</p><p>4-bedroom appartments</p><p>Compact appartments</p><p>Kindergarten</p><p>CafDual residence</p><p>Bedroom Bathroom</p><p>Master bedroomStudy</p><p>Public garden</p><p>Semi-public garden</p><p>Private garden</p><p>Lindargata</p><p>Klapparstgur</p><p>Vatnsstgur</p><p>Hverfisgata</p><p>Veghsastgur</p><p>Site planAppartments and gardens1 : 1.000</p></li><li><p>The assignment was to design a Nhs located in Hvalfjrur. Nhs is an ambiguous word which has many meanings, but would translate literally to house of grace. Most of these interpretations refer to some kind of solitude from society or a place to be alone with ones thoughts (see diagram below). I wanted to design an escape from society and place that one discover its identity as an individual. Modern people are constantly trying to explore themselves but are having...</p></li></ul>